DOCSLIB.ORG

Introduction: Cross-Dressing and Cross-Casting 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Introduction: Cross-Dressing and Cross-Casting 1 Notes Introduction: Cross-Dressing and Cross-Casting 1. Dorothy Keyser, “Cross-Sexual Casting in Baroque Opera: Musical and Theatrical Conventions,” Opera Quarterly 5:4 (Winter 1987–88): 46–57 (46). 2. All quotations from Ecclesiazusae are taken from David Barrett’s trans- lation, Penguin Classics, London: Penguin, 1978. 3. Jeffrey Henderson, “Older Women in Attic Old Comedy,” Transactions of the American Philological Association 117 (1987): 105–29 (118). 4. “The Myth of Shakespeare’s Squeaking Boy Actor—Or Who Played Cleopatra?” Shakespeare Bulletin 19: 2 (Spring 2001), consulted online. 5. See their edited volume, En travesti: Women, Gender Subversion, Opera, New York: Columbia University Press, 1995, 3, 5. 6. See Republic, Books 3 and 10. 7. In the seventeenth century, the concept of homosexuality as such did not exist. A man might choose to participate in acts of sodomy, but he was not considered to be a homosexual. Same-sex relations between women were even less clearly understood or defined. See Joseph Harris, Hidden Agendas: Cross-Dressing in 17th-Century France, Biblio 17: 156, Tübingen: Gunter Narr, 2005, 27–28. 8. Judith Butler, Gender Trouble: Feminism and the Subversion of Identity, New York and London: Routledge, 1990, 137. 9. Vested Interests: Cross-Dressing and Cultural Anxiety, London: Penguin, 1993. 10. See her book The First English Actresses: Women and Drama 1660–1700, Cambridge: Cambridge University Press, 1992. 11. The related topic of disguise plots (i.e., cross-dressing as opposed to cross-casting) during much the same period is the subject of Georges Forestier’s monumental tome Esthétique de l’identité dans le théâtre français (1550–1680), Geneva: Droz, 1988. See also John D. Lyons, A Theatre of Disguise: Studies in French Baroque Drama (1630–1660), Columbia, SC: French Literature Publications Company, 1978, and Joseph Harris, Hidden Agendas. 164 Notes 12. The first major study of cross-casting in Shakespeare was W. Robertson Davies’s speculative and gloriously opinionated Shakespeare’s Boy Actors, London: Dent, 1939. This was followed by, among others, Michael Shapiro’s Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages, Ann Arbor: University of Michigan Press, 1994, Stephen Orgel’s Impersonations: The Performance of Gender in Shakespeare’s England, Cambridge: Cambridge University Press, 1996, and Dympna Callaghan’s Shakespeare Without Women: Representing Gender and Race on the Renaissance Stage, London and New York: Routledge, 2000. Chapter I Unattractive Women: Cross-Casting in Comedy 1. For an excellent study of attitudes toward cross-casting in England, see Laura Levine, Men in Women’s Clothing: Anti-Theatricality and Effeminization, 1579–1642, Cambridge: Cambridge University Press, 1994. 2. See Henry Phillips, The Theatre and its Critics in Seventeenth-Century France, Oxford: Oxford University Press, 1980, 174. 3. Tertullian, De Spectaculis, trans. Pierre de Labriolle, Paris: 1937, 26. Cited in Phillips, The Theatre and its Critics, 177. 4. Ph. Vincent, Traité des théâtres, La Rochelle, 1647, 8. Cited in Phillips, The Theatre and its Critics, 202. 5. For an equally excellent study of the impact of the professional actress in England, see Elizabeth Howe, The First English Actresses: Women and Drama 1660–1700, Cambridge: Cambridge University Press, 1992. 6. See Lynette R. Muir, “Women on the Medieval Stage: The Evidence from France,” Medieval English Theatre 7:2 (1985): 107–19. Documents dealing with Passion plays produced in Mons in 1501 and in nearby Valenciennes in 1547 include a small number of roles for “junes filles” (young girls), but none for married women. Elsewhere in France, married women did perform, for instance in a 1509 production in Romans of the Trois Doms, which included eleven women in its cast, nine of whom were married. In this instance, only one female role was taken by a man: that of Proserpina. Similarly, women performed in a 1526 production of the Trois Martyrs in Valence. Muir also gives details of the one recorded example of a women playing Mary in a Passion play, of an actress of unknown age playing the eponymous saint in a production at Metz of St. Catherine in 1468, and a woman playing in the Vie de Sainte Barbe in Nancy in the early sixteenth century. 7. The rise of the Italian actress as a permanent fixture coincided almost exactly with the birth and development of the commedia dell’arte tradi- tion in the sixteenth century, and her presence constituted an integral part of the originality of this particular brand of theatre. See Rosamond Gilder, Enter the Actress: The First Women in the Theatre, Boston: Houghton Mifflin, 1931; New York: Theatre Arts Books, 1960, 57. Notes 165 8. See Gilder, Enter the Actress, 56. Unfortunately, Gilder provides no reference for this quotation. 9. I return to the effects of the papal ban on female performers in my discussion of castrati in chapter V. 10. Gustave Attinger, L’esprit de la commedia dell’arte dans le théâtre français, Paris: Librairie théâtrale/Neuchatel: A la Baconnière, 1950, 98. 11. Bernard Jolibert, La commedia dell’arte et son influence en France du XVIe au XVIIIe siècle, Paris and Montreal: Harmattan, 1999, 39. 12. La piazza universale di tutte le professioni del mondo, Venice: Somasco, 1585. Cited in French in Attinger, L’esprit de la commedia dell’arte, 45. 13. Le Théâtre de l’Hôtel de Bourgogne, 2 vols., Paris: Nizet, 1968–70, I: 26. Deierkauf-Holsboer writes the “Hôtel de Bourbon,” but she must mean the Hôtel de Bourgogne. The French parliament, however, disap- proved of the performance, doubtless owing in part to the appearance of women on stage. 14. Isaac Du Ryer, Le Temps perdu, Paris: Du Bray, 1610, 65–66. 15. Léopold Lacour, Les premières actrices françaises, Paris: Librairie Française, 1921, 9. 16. See M. Barras, The Stage Controversy in France from Corneille to Rousseau, New York: Publications of the Institute of French Studies, 1933. 17. Maximes et réflexions sur la comédie, reproduced in Urbain and Levesque (eds.), L’Eglise et le théâtre, Paris: Grasset, 1930, 167–279 (267–68). 18. Sentiments de l’Eglise et des saints Pères, Paris, 1694. Cited in Phillips, The Theatre and its Critics, 187. 19. J. de Voisin, La Défense du traitté de Monseigneur le prince de Conti, Paris, 1671, Lettre I, 477. Cited in Phillips, The Theatre and its Critics, 188. 20. Jan Clarke, “Women Theatre Professionals in 17th-Century France” in Women in European Theatre, ed. Elizabeth Woodrough, London: Intellect, 1995: 23–31 (23). See Mme du Noyer, Lettres historiques et galantes, I: 15, in P. Mélèse, Le Théâtre et le public à Paris sous Louis XIV (1659–1715), Paris: Droz, 1934; Geneva, 1976, 176. 21. See P. Mélèse, Le Théâtre et le public, 174. 22. See Le Théatre François, ed. Georges Monval, Lyon: Guignard, 1674; Paris: Bonnassies, 1875. 23. J. de Courbeville, La Critique du Théâtre Anglois, comparé au Théâtre d’Athènes, de Rome et de France, et l’Opinion des auteurs tant profanes que sacrez, touchant les Spectacles, Paris, 1715, v. See M. Barras, The Stage Controversy in France, 144. 24. It should be noted that the principal female roles in these plays were performed by actresses; probably by Mlle Le Noir and Mlle Villiers who were then the leading actresses of Mondory’s troupe (soon to be called the Troupe du Marais). 25. Henry Lyonnet, Les “Premières” de P. Corneille, Paris: Delagrave, 1923, 28. 26. Such was Alizon’s close association with playing grotesque, elderly women, he even lent his stage name to a number of contemporary plays, including Discret’s Alizon (1637). 166 Notes 27. See Barbara C. Bowen, Les Caractéristiques essentielles de la farce française et leur survivance dans les années 1550–1620, Illinois Studies in Language and Literature 53, Urbana: University of Illinois Press, 1964, 14, 51 and 111. 28. See G. J. Mallinson, The Comedies of Corneille: Experiments in the Comic, Manchester: Manchester University Press, 1984, 1–7 (3). 29. Neither does he comment on the shift from cross-casting to straight casting, even when he refers to Corneille’s own discussion of this very transition (77). Similarly, Théodore Litman cites Corneille’s words and fails to comment on either the fact or the implications of the cross-casting mentioned. See Théodore A. Litman, Les comédies de Corneille, Paris: Nizet, 1981, 93. 30. Louis Rivaille, Les débuts de P. Corneille, Paris: Boivin, 1936, 194. 31. Unfortunately, we only have Chapelle’s side of the correspondence in which he writes of “le déplaisir que vous donnent les partialités de vos trois grandes actrices pour la distribution de vos roles” (the displeasure you felt at the preferences of your three great actresses with regard to the dis- tribution of your roles). Cited in G. Michaut, La Jeunesse de Molière, Paris: Hachette, 1922, 182. 32. “Discours à Cliton sur les Observations du Cid,” in La Querelle du Cid, ed. Armand Gasté, Paris: Weller, 1898; Geneva: Slatkine, 1970, 241–82 (265). 33. In addition to stimulating the introduction of new types of female roles in comedy, actresses also encouraged the development of tragedy—the theatrical genre for which the century is probably best known today. Tragedy was for obvious reasons considered a more respectable genre than its comic counterpart and therefore a more appropriate genre for women to perform. While it is clear that early French actresses did perform in comedies and even in vulgar farces, their professional ambition appears to have centred around tragic drama, as they sought to gain their reputation from performing the female roles of playwrights such as Corneille and, later, Racine. 34. See Roger W. Herzel, The Original Casting of Molière’s Plays, Ann Arbor, MI: UMI Research Press, 1981, 21. 35.
Load more

Recommended publications
  • The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice.
    [Show full text]
  • Monsieur De Pourceaugnac, Comédie-Ballet De Molière Et Lully
    Monsieur de Pourceaugnac, comédie-ballet de Molière et Lully Dossier pédagogique Une production du Théâtre de l’Eventail en collaboration avec l’ensemble La Rêveuse Mise en scène : Raphaël de Angelis Direction musicale : Florence Bolton et Benjamin Perrot Chorégraphie : Namkyung Kim Théâtre de l’Eventail 108 rue de Bourgogne, 45000 Orléans Tél. : 09 81 16 781 19 [email protected] http://theatredeleventail.com/ Sommaire Introduction ......................................................................................................................................... 2 La farce dans l’œuvre de Molière ................................................................................................ 3 Molière : éléments biographiques ............................................................................................. 3 Le comique de farce .................................................................................................................... 4 Les ressorts du comique dans Monsieur de Pourceaugnac .............................................. 5 Musique baroque et comédie-ballet ........................................................................................... 7 Qui est Jean-Baptiste Lully ? ........................................................................................................ 7 La musique dans Monsieur de Pourceaugnac ..................................................................... 8 La commedia dell’arte .................................................................................................................
    [Show full text]
  • Lesbian and Gay Music
    Revista Eletrônica de Musicologia Volume VII – Dezembro de 2002 Lesbian and Gay Music by Philip Brett and Elizabeth Wood the unexpurgated full-length original of the New Grove II article, edited by Carlos Palombini A record, in both historical documentation and biographical reclamation, of the struggles and sensi- bilities of homosexual people of the West that came out in their music, and of the [undoubted but unacknowledged] contribution of homosexual men and women to the music profession. In broader terms, a special perspective from which Western music of all kinds can be heard and critiqued. I. INTRODUCTION TO THE ORIGINAL VERSION 1 II. (HOMO)SEXUALIT Y AND MUSICALIT Y 2 III. MUSIC AND THE LESBIAN AND GAY MOVEMENT 7 IV. MUSICAL THEATRE, JAZZ AND POPULAR MUSIC 10 V. MUSIC AND THE AIDS/HIV CRISIS 13 VI. DEVELOPMENTS IN THE 1990S 14 VII. DIVAS AND DISCOS 16 VIII. ANTHROPOLOGY AND HISTORY 19 IX. ACKNOWLEDGEMENTS 24 X. EDITOR’S NOTES 24 XI. DISCOGRAPHY 25 XII. BIBLIOGRAPHY 25 I. INTRODUCTION TO THE ORIGINAL VERSION 1 What Grove printed under ‘Gay and Lesbian Music’ was not entirely what we intended, from the title on. Since we were allotted only two 2500 words and wrote almost five times as much, we inevitably expected cuts. These came not as we feared in the more theoretical sections, but in certain other tar- geted areas: names, popular music, and the role of women. Though some living musicians were allowed in, all those thought to be uncomfortable about their sexual orientation’s being known were excised, beginning with Boulez.
    [Show full text]
  • Jeudi 8 Juin 2017 Hôtel Ambassador
    ALDE Hôtel Ambassador jeudi 8 juin 2017 Expert Thierry Bodin Syndicat Français des Experts Professionnels en Œuvres d’Art Les Autographes 45, rue de l’Abbé Grégoire 75006 Paris Tél. 01 45 48 25 31 - Facs 01 45 48 92 67 [email protected] Arts et Littérature nos 1 à 261 Histoire et Sciences nos 262 à 423 Exposition privée chez l’expert Uniquement sur rendez-vous préalable Exposition publique à l’ Hôtel Ambassador le jeudi 8 juin de 10 heures à midi Conditions générales de vente consultables sur www.alde.fr Frais de vente : 22 %T.T.C. Abréviations : L.A.S. ou P.A.S. : lettre ou pièce autographe signée L.S. ou P.S. : lettre ou pièce signée (texte d’une autre main ou dactylographié) L.A. ou P.A. : lettre ou pièce autographe non signée En 1re de couverture no 96 : [André DUNOYER DE SEGONZAC]. Ensemble d’environ 50 documents imprimés ou dactylographiés. En 4e de couverture no 193 : Georges PEREC. 35 L.A.S. (dont 6 avec dessins) et 24 L.S. 1959-1968, à son ami Roger Kleman. ALDE Maison de ventes spécialisée Livres-Autographes-Monnaies Lettres & Manuscrits autographes Vente aux enchères publiques Jeudi 8 juin 2017 à 14 h 00 Hôtel Ambassador Salon Mogador 16, boulevard Haussmann 75009 Paris Tél. : 01 44 83 40 40 Commissaire-priseur Jérôme Delcamp EALDE Maison de ventes aux enchères 1, rue de Fleurus 75006 Paris Tél. 01 45 49 09 24 - Facs. 01 45 49 09 30 - www.alde.fr Agrément n°-2006-583 1 1 3 3 Arts et Littérature 1.
    [Show full text]
  • Der Rosenkavalier by Richard Strauss
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Octavian and the Composer: Principal Male Roles in Opera Composed for the Female Voice by Richard Strauss Melissa Lynn Garvey Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC OCTAVIAN AND THE COMPOSER: PRINCIPAL MALE ROLES IN OPERA COMPOSED FOR THE FEMALE VOICE BY RICHARD STRAUSS By MELISSA LYNN GARVEY A Treatise submitted to the Department of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2010 The members of the committee approve the treatise of Melissa Lynn Garvey defended on April 5, 2010. __________________________________ Douglas Fisher Professor Directing Treatise __________________________________ Seth Beckman University Representative __________________________________ Matthew Lata Committee Member The Graduate School has verified and approved the above-named committee members. ii I’d like to dedicate this treatise to my parents, grandparents, aunt, and siblings, whose unconditional love and support has made me the person I am today. Through every attended recital and performance, and affording me every conceivable opportunity, they have encouraged and motivated me to achieve great things. It is because of them that I have reached this level of educational achievement. Thank you. I am honored to thank my phenomenal husband for always believing in me. You gave me the strength and courage to believe in myself. You are everything I could ever ask for and more. Thank you for helping to make this a reality.
    [Show full text]
  • Les Opéras De Lully Remaniés Par Rebel Et Francœur Entre 1744 Et 1767 : Héritage Ou Modernité ? Pascal Denécheau
    Les opéras de Lully remaniés par Rebel et Francœur entre 1744 et 1767 : héritage ou modernité ? Pascal Denécheau To cite this version: Pascal Denécheau. Les opéras de Lully remaniés par Rebel et Francœur entre 1744 et 1767 : héritage ou modernité ? : Deuxième séminaire de recherche de l’IRPMF : ”La notion d’héritage dans l’histoire de la musique”. 2007. halshs-00437641 HAL Id: halshs-00437641 https://halshs.archives-ouvertes.fr/halshs-00437641 Preprint submitted on 1 Dec 2009 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. P. Denécheau : « Les opéras de Lully remaniés par Rebel et Francœur : héritage ou modernité ? » Les opéras de Lully remaniés par Rebel et Francœur entre 1744 et 1767 : héritage ou modernité ? Une grande partie des œuvres lyriques composées au XVIIe siècle par Lully et ses prédécesseurs ne se sont maintenues au répertoire de l’Opéra de Paris jusqu’à la fin du siècle suivant qu’au prix d’importants remaniements : les scènes jugées trop longues ou sans lien avec l’action principale furent coupées, quelques passages réécrits, un accompagnement de l’orchestre ajouté là où la voix n’était auparavant soutenue que par le continuo.
    [Show full text]
  • Commedia Dell'arte Au
    FACULTÉ DE PHILOLOGIE Licence en Langues et Littératures Modernes (Français) L’IMPORTANCE DE LA COMMEDIA DELL’ARTE AU THÉÂTRE DE MOLIÈRE MARÍA BERRIDI PUERTAS TUTEUR : MANUEL GARCÍA MARTÍNEZ SAINT-JACQUES-DE-COMPOSTELLE, ANNéE ACADEMIQUE 2018-2019 FACULTÉ DE PHILOLOGIE Licence en Langues et Littératures Modernes (Français) L’IMPORTANCE DE LA COMMEDIA DELL’ARTE AU THÉÂTRE DE MOLIÈRE MARÍA BERRIDI PUERTAS TUTEUR : MANUEL GARCÍA MARTÍNEZ SAINT-JACQUES-DE-COMPOSTELLE, ANNÉE ACADEMIQUE 2018-2019 2 SOMMAIRE 1. Résumé…………………………………………………………………………………4 2. Introduction……………………………………………………………………………..5 3. De l’introduction de la commedia dell’Arte dans la cour française……………….6 a. Qu’est-ce que c’est la commedia dell’Arte ?............................................6 i. Histoire………………………………………………...……………....6 ii. Caractéristiques essentielles…………………………………….….6 b. Les Guerres d’Italie et les premiers contacts………………………..……..8 i. Les Guerres d’Italie………………………………………………......8 ii. L’introduction de la commedia dell’Arte à la cour française……..9 4. La commedia dell’Arte dans le théâtre français………...………………………...11 a. La comédie française………………………………………………………..11 b. Molière………………………………………………………………………..12 5. La commedia dell’Arte dans la comédie de Molière……………………………...14 a. L’inspiration…………………………………………………………………..14 b. La forme et contenu…………………………………………………..……..17 c. Les masques et l’art visuel………………………………………………….19 i. La disposition scénographique…………………………………….19 ii. Le mélange de genres…………………………………………......20 iii. Les lazzi……………………………………………………………...24 iv. Les masques………………………………………………………...26 1. Personnages inspirés aux masques italiens…………….26 2. Apparitions des masques de la commedia dell’Arte.......27 3. De nouveaux masques……….……………………………27 4. Le multilinguisme……..…………………………………….29 6. Conclusions…………………………………………………………………………...32 7. Bibliographie………………………………………………………………………….34 3 IJNIVERSIOAOF DF SANTIAGO DE COMPOSTElA FACULTADE DE l ,\C.lJL'JAlJL UL I ILUI U:\1,\ rllOLOXfA 2 6 OUT.
    [Show full text]
  • Dossier De Presse
    Atypik Films Présente Patrick Ridremont François Berléand Virginie Efira DEAD MAN TALKING Un film belge de PATRICK RIDREMONT (Durée : 1h41) Distribution Relations Presse Atypik Films Laurence Falleur Communication 31 rue des Ombraies 57 rue du Faubourg Montmartre 92000 Nanterre 75009 Paris Eric Boquého Laurence Falleur Assisté de Sandrine Becquart Assisté de Vincent Bayol Et Jacques Domergue Tel : 01.83.92.80.51 Tel : 01.77.68.32.16. Port. : 06.48.89.41.29 Port. : 06.62.49.19.87. [email protected] [email protected] [email protected] Matériel de presse téléchargeable sur www.atypikfilms.com SYNOPSIS William Lamers , 40 ans, anonyme criminel condamné au Poison pour meurtre, se prépare à être exécuté. La procédure se passe dans l’indifférence générale et, ni la famille du condamné, ni celle de ses victimes n’a fait le déplacement pour assister à l’exécution. Seul le journaliste d’un minable tabloïd local est venu assister au «spectacle». Pourtant ce qui ne devait être qu’une formalité va rapidement devenir un véritable cauchemar pour Karl Raven, le directeur de la prison. Alors qu’on lui demande s’il a quelque chose à dire avant de mourir, William se met à raconter sa vie, et se lance dans un récit incroyable et bouleversant. Raven s’impatiente et appelle le Gouverneur Brodeck pour obtenir l'autorisation d'exécuter William. Mais comme la loi ne précise rien sur la longueur des dernières paroles et que le Gouverneur Stieg Brodeck, au plus bas dans les sondages, ne peut prendre aucun risque à un mois des élections, on décide de laisser William raconter son histoire jusqu’au bout.
    [Show full text]
  • Course Catalogue 2016 /2017
    Course Catalogue 2016 /2017 1 Contents Art, Architecture, Music & Cinema page 3 Arabic 19 Business & Economics 19 Chinese 32 Communication, Culture, Media Studies 33 (including Journalism) Computer Science 53 Education 56 English 57 French 71 Geography 79 German 85 History 89 Italian 101 Latin 102 Law 103 Mathematics & Finance 104 Political Science 107 Psychology 120 Russian 126 Sociology & Anthropology 126 Spanish 128 Tourism 138 2 the diversity of its main players. It will thus establish Art, Architecture, the historical context of this production and to identify the protagonists, before defining the movements that Music & Cinema appear in their pulse. If the development of the course is structured around a chronological continuity, their links and how these trends overlap in reality into each IMPORTANT: ALL OUR ART COURSES ARE other will be raised and studied. TAUGHT IN FRENCH UNLESS OTHERWISE INDICATED COURSE CONTENT : Course Outline: AS1/1b : HISTORY OF CLASSIC CINEMA introduction Fall Semester • Impressionism • Project Genesis Lectures: 2 hours ECTS credits: 3 • "Impressionist" • The Post-Impressionism OBJECTIVE: • The néoimpressionnism To discover the great movements in the history of • The synthetism American and European cinema from 1895 to 1942. • The symbolism • Gauguin and the Nabis PontAven COURSE PROGRAM: • Modern and avantgarde The three cinematic eras: • Fauvism and Expressionism Original: • Cubism - The Lumière brothers : realistic art • Futurism - Mélies : the beginnings of illusion • Abstraction Avant-garde : - Expressionism
    [Show full text]
  • Herminie a Performer's Guide to Hector Berlioz's Prix De Rome Cantata Rosella Lucille Ewing Louisiana State University and Agricultural and Mechanical College
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2009 Herminie a performer's guide to Hector Berlioz's Prix de Rome cantata Rosella Lucille Ewing Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Ewing, Rosella Lucille, "Herminie a performer's guide to Hector Berlioz's Prix de Rome cantata" (2009). LSU Doctoral Dissertations. 2043. https://digitalcommons.lsu.edu/gradschool_dissertations/2043 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. HERMINIE A PERFORMER’S GUIDE TO HECTOR BERLIOZ’S PRIX DE ROME CANTATA A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music and Dramatic Arts by Rosella Ewing B.A. The University of the South, 1997 M.M. Westminster Choir College of Rider University, 1999 December 2009 DEDICATION I wish to dedicate this document and my Lecture-Recital to my parents, Ward and Jenny. Without their unfailing love, support, and nagging, this degree and my career would never have been possible. I also wish to dedicate this document to my beloved teacher, Patricia O’Neill. You are my mentor, my guide, my Yoda; you are the voice in my head helping me be a better teacher and singer.
    [Show full text]
  • Filmer Le Misanthrope À La Comédie-Française I
    DOSSIER PÉDAGOGIQUE 1 FILMER LE MISANTHROPE À LA COMÉDIE-FRANÇAISE I. MOLIÈRE À L’ÉCRAN : UNE AUTRE SCÈNE POUR LA COMÉDIE p.3 II. CLÉMENT HERVIEU-LÉGER : « LES SPECTATEURS VONT PASSER PAR LE REGARD DE DON KENT » p.6 2 III. LE DÉFI DU DIRECT : PRÉPARATION PRÉCISE ET LIBERTÉ D’IMPROVISATION p.11 IV. MOLIÈRE DANS L’ŒIL DES RÉALISATEURS p.14 DOSSIER PÉDAGOGIQUE FILMER LE MISANTHROPE À LA COMÉDIE-FRANÇAISE I. MOLIÈRE À L’ÉCRAN : UNE AUTRE SCÈNE POUR LA COMÉDIE olière est sans doute, des auteurs français, celui dont la vie et l’œuvre ont inspiré le plus de films. Ses pièces ont fourni au cinéma un répertoire comique largement connu du grand public et ce patrimoine classique s’est vu, du cinéma des premiers temps au cinéma contemporain, perpétuellement revisité, réinventé, modernisé. Qu’elles inspirent des démarches auteuristes où le comique se teinte de noirceur, ou qu’elles fassent triompher la bouffonnerie dans les grandes comédies populaires, les pièces de Molière ont réussi à conquérir cette autre scène qu’est l’écran pour offrir au théâtre un nouvel espace où le comique puisse continuer ses métamorphoses. Italo Calvino disait des œuvres classiques qu’elles « n’avaient jamais fini de dire ce qu’elles avaient à nous dire » : la rencontre, par-delà les siècles, de Molière et de cet art résolument moderne qu’est le cinéma est encore la preuve de l’actualité toujours vivante du grand auteur classique. Molière, personnage de cinéma La vie de Molière, si romanesque dans sa trajectoire et si mystérieuse par les défauts de sa chronologie, offre au cinéma l’occasion de mêler le biographique au romanesque, tout en jouant de la mise en abyme (Molière ayant été lui-même acteur).
    [Show full text]
  • The Performance of Gender with Particular Reference to the Plays of Shakespeare
    Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Dixon, Luke (1998) The performance of gender with particular reference to the plays of Shakespeare. PhD thesis, Middlesex University. [Thesis] This version is available at: https://eprints.mdx.ac.uk/6384/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated.
    [Show full text]